Anthony Powell - The Acceptance World

‘What about another one?’

We asked the Italians if they were waiting for the billiard table, but they did not want to play. We had just arranged the balls again, and set up the pin, when the door of the club opened and two people came into the room. One of them was Barnby. The girl with him was known to me, though it was a second before I remembered that she was Lady Anne Stepney. We had not met for three years or more. Barnby seemed surprised, perhaps not altogether pleased, to find someone he knew at Foppa’s.

Although it had turned out that Anne Stepney was the girl he had met on the train after his week-end with the Manasches, he had ceased to speak of her freely in conversation. At the same time I knew he was still seeing her. This was on account of a casual word dropped by him. I had never before run across them together in public. Some weeks after his first mention of her, I had asked whether he had finally established her identity. Barnby had replied brusquely:

‘Of course her name is Stepney.’

I sometimes wondered how the two of them were getting along; even whether they had plans for marriage. A year was a long time for Barnby to be occupied with one woman. Like most men of his temperament, he held, on the whole, rather strict views regarding other people’s morals. For that reason alone he would probably not have approved had I told him about Jean. In any case he was not greatly interested in such things unless himself involved. He only knew that something of the sort was in progress, and he would have had no desire, could it have been avoided, to come upon us unexpectedly in this manner.

The only change in Anne Stepney (last seen at Stringham’s wedding) was her adoption of a style of dress implicitly suggesting an art student; nothing outrageous: just a general assertion that she was in some way closely connected with painting or sculpture. I think Mona had struggled against such an appearance; in Anne Stepney, it had no doubt been painfully acquired. Clothes of that sort certainly suited her large dark eyes and reddish hair, seeming also appropriate to a general air of untidiness, not to say grubbiness, that always possessed her. She had by then, I knew, passed almost completely from the world in which she had been brought up; that in which her sister, Peggy, still moved, or, at least, in that portion of it frequented by young married women.

The Bridgnorths had taken their younger daughter’s behaviour philosophically. They had gone through all the normal processes of giving her a start in life, a ball for her ‘coming out’, and everything else to be reasonably expected of parents in the circumstances. In the end they had agreed that ‘in these days’ it was impossible to insist on the hopes or standards of their own generation. Anne had been allowed to go her own way, while Lady Bridgnorth had returned to her hospital committees, Lord Bridgnorth to his politics and racing. They had probably contented themselves with the thought that Peggy, having quietly divorced Stringham, had now settled down peacefully enough with her new husband in his haunted, Palladian Yorkshire home, which was said to have given St. John Clarke the background for a novel. Besides, their eldest son, Mountfichet, I had been told, was turning out well at the university, where he was a great favourite with Sillery.

When introductions took place, it seemed simpler to make no reference to the fact that we had met before. Anne Stepney stared round the room with severe approval. Indicating Foppa and his companion, she remarked:

‘I always think people playing cards make such a good pattern.’

‘Rather like a Chardin,’ I suggested.

‘Do you think so?’ she replied, implying contradiction rather than agreement.

‘The composition?’

‘You know I am really only interested in Chardin’s highlights,’ she said.

Before we could pursue the intricacies of Chardin’s technique further, Foppa rose to supply further drinks. He had already made a sign of apology at his delay in doing this, to be accounted for by the fact that his game was on the point of completion when Barnby arrived. He now noted the score on a piece of paper and came towards us.

He was followed this time to the bar by the man with whom he had been at cards. Foppa’s companion could now be seen more clearly. His suit was better cut and general appearance more distinguished than was usual in the club. He had stood by the table for a moment, stretching himself and lighting a cigarette, while he regarded our group. A moment later, taking a step towards Anne Stepney, he said in a soft, purring, rather humorous voice, with something almost hypnotic about its tone:

‘I heard your name when you were introduced. You must be Eddie Bridgnorth’s daughter.’

Looking at him more closely as he said this, I was surprised that he had remained almost unobserved until that moment. He was no ordinary person. That was clear. Of medium height, even rather small when not compared with Foppa, he was slim, with that indefinably ‘horsey’ look that seems even to affect the texture of the skin. His age was hard to guess: probably he was in his forties. He was very trim in his clothes. They were old, neat, well preserved clothes, a little like those worn by Uncle Giles. This man gave the impression of having handled large sums of money in his time, although he did not convey any presumption of affluence at that particular moment. He was clean-shaven, and wore a hard collar and Brigade of Guards tie. I could not imagine what someone of that sort was doing at Foppa’s. There was something about him of Buster Foxe, third husband of Stringham’s mother: the same cool, tough, socially elegant personality, though far more genial than Buster’s. He lacked, too, that carapace of professional egotism acquired in boyhood that envelops protectively even the most good-humoured naval officer. Perhaps the similarity to Buster was after all only the outer veneer acquired by all people of the same generation.

Anne Stepney replied rather stiffly to this enquiry, that ‘Eddie Bridgnorth’ was indeed her father. Having decided to throw in her lot so uncompromisingly with ‘artists’, she may have felt put out to find herself confronted in such a place by someone of this kind. Since he claimed acquaintance with Lord Bridgnorth, there was no knowing what information he might possess about herself; nor what he might report subsequently if he saw her father again. However, the man in the Guards tie seemed instinctively to understand what her feelings would be on learning that he knew her family.

‘I am Dicky Umfraville,’ he said. ‘I don’t expect you have ever heard of me, because I have been away from this country for so long. I used to see something of your father when he owned Yellow Jack. In fact I won a whole heap of money on that horse once. None of it left now, I regret to say.’

He smiled gently. By the confidence, and at the same time the modesty, of his manner he managed to impart an extraordinary sense of reassurance. Anne Stepney seemed hardly to know what to say in answer to this account of himself. I remembered hearing Sillery speak of Umfraville, when I was an undergraduate. Perhaps facetiously, he had told Stringham that Umfraville was a man to beware of. That had been apropos of Stringham’s father, and life in Kenya. Stringham himself had met Umfraville in Kenya, and spoke of him as a well-known gentleman-rider. I also remembered Stringham complaining that Le Bas had once mistaken him for Umfraville, who had been at Le Bas’s house at least fifteen years earlier. Now, in spite of the difference in age and appearance, I could see that Le Bas’s error had been due to something more than the habitual vagueness of schoolmasters. The similarity between Stringham and Umfraville was of a moral rather than physical sort. The same dissatisfaction with life and basic melancholy gave a resemblance, though Umfraville’s features and expression were more formalised and, in some manner, coarser — perhaps they could even be called more brutal — than Stringham’s.